Last week, J and I went to the Boston Opera House to see Hamilton. It’s been just over a year since we went to the Opera House to see Fun Home, and I had high expectation of both shows, albeit in different ways, and both performances exceeded my expectations.

With Fun Home, I had high expectations because I’d read (and loved) Alison Bechdel’s graphic memoir of the same name, so I was curious to see whether the musical could match the power of the book. (It did.) Whereas J watched Fun Home with no previous knowledge of the story, I couldn’t help but compare the musical with the book. I loved the musical version of Fun Home because it did such a good job translating Bechdel’s complicated relationship with her father into an entirely new medium: the same powerful story told in a slightly different way.

With Hamilton, I went into the Opera House with an almost entirely empty mind. I didn’t read reviews of the show, and apart from knowing a handful of lines from “My Shot” and the title of the song “The Room Where It Happens,” I didn’t know much about the musical itself, other than everyone I know who has seen it has raved about it.

As it turns out, I learned a lot from the musical, and the first thing I learned was how little I knew about Alexander Hamilton himself. Yes, I remembered from high school history class that Alexander Hamilton was the first secretary of the treasury, and I knew he was shot in a duel with Aaron Burr, but that was the extent of my historical knowledge. The musical did a very good job of sketching the contours of Hamilton’s life, the Revolution he fought in, the political debates he partook in, and his complicated personal life.

The genius of Hamilton, of course, is that nobody ever thought to use hip-hop as a genre to tell the story of an American Founding Father. After the first few minutes, however, Lin-Manuel Miranda’s unique coupling of musical style and subject matter seemed entirely natural and even inevitable: how could it be that it took a couple hundred years for this particular story to be told in this particular way?

I wasn’t surprised that Hamilton taught historical lessons, and I wasn’t surprised that the hip-hop numbers and choreography were amazing: I trusted, after all, the opinions of the many people who had raved about the performance. What surprised me, though, was how emotionally moving the story was. Although I knew Hamilton dies in the end, I wasn’t aware of the other tragedies he and his wife faced, so I wasn’t expecting a hip-hop musical about an American Founding Father to make me cry.

In retrospect, I didn’t learn (or at least remember) much from my high school history classes because those classes never captured the emotional import of past events. It’s one thing to memorize dates and names; it’s another to understand the personalities behind historic events. Not only does Hamilton capture the political battles that happened when the Republic was born, the musical captures the personality, moods, and motivations of the people waging those fights. Lin-Manuel Miranda’s masterpiece not only invited me into the room where it happened, it took me into the minds and hearts of the people there.

Writers, like children, are not dissuaded by the uselessness of hoarded ordinaries; instead, we cultivate a collector's sense, trying to capture mundane moments on a string of words.
--Lorianne DiSabato